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1 GENERIC TRANSGRESSIONS: GENDER, GENRE, and HYBRIDITY in AMERICAN SCIENCE FICTION TELEVISION by LACY HODGES a DISSERTATION PRES

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1 GENERIC TRANSGRESSIONS: GENDER, GENRE, and HYBRIDITY in AMERICAN SCIENCE FICTION TELEVISION by LACY HODGES a DISSERTATION PRES GENERIC TRANSGRESSIONS: GENDER, GENRE, AND HYBRIDITY IN AMERICAN SCIENCE FICTION TELEVISION By LACY HODGES A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Lacy Hodges 2 To my Mom, my Dad, Louie, and Baylor 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my advisor, Dr. Andrew Gordon, for his guidance, advice, and support throughout this project. I also want to thank the rest of my committee members, Dr. R. Brandon Kershner, Dr. Amy Ongiri, and Dr. M. Elizabeth Ginway, for their time and assistance. I am also incredibly grateful to my family, particularly my parents, George and Jane, for their love and support. Finally, I would like to thank my husband, Louie, whose support, encouragement, and willingness to watch hours upon hours of Battlestar Galactica are always greatly appreciated. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ..................................................................................................4 ABSTRACT .....................................................................................................................7 CHAPTER 1 INTRODUCTION.......................................................................................................9 Science Fiction, Postmodernism, and Feminism.......................................................9 The Science Fiction Cop Show: The X-Files...........................................................23 The Science Fiction Western: Firefly.......................................................................24 The Science Fiction Action Show: Terminator: The Sarah Connor Chronicles .......26 The Science Fiction War Story: Battlestar Galactica...............................................27 2 THE SF DETECTIVE SERIES: THE X-FILES.........................................................30 Women in SFTV......................................................................................................35 “You and Your Pretty Partner”: Gender and the Mulder/Scully Dynamic.................40 Gender Hybridity and Storytelling Techniques ........................................................51 3 THE SF WESTERN: FIREFLY................................................................................61 The Western on Television......................................................................................67 The Space Western: Firefly.....................................................................................71 Warrior Woman: Zoe, Race, and Gender................................................................73 “The Man They Call Jayne”: Masquerade and Gender in Firefly.............................79 Little Girl or Big Weapon?: The Problem with River ................................................86 Space Hookers and Mechanic Girls: Inara, Kaylee, and Traditional Gender Tropes..................................................................................................................93 4 THE SF ACTION SERIES: TERMINATOR: THE SARAH CONNOR CHRONICLES.........................................................................................................98 Women in SF Action .............................................................................................101 Gender Theory and the Cyborg.............................................................................106 The Terminator Films ............................................................................................108 Terminator: The Sarah Connor Chronicles............................................................112 5 THE SF WAR SERIES: BATTLESTAR GALACTICA............................................135 Starbuck: Rebooting Gender in BSG ....................................................................146 The Schoolteacher: President Laura Roslin..........................................................153 Cyborgs, Cylons, and Sexy Sixes .........................................................................158 The Monstrous Mother Messiah: Ellen Tigh..........................................................165 5 6 CONCLUSION: THE FUTURE OF HYBRIDITY....................................................174 LIST OF REFERENCES..............................................................................................181 BIOGRAPHICAL SKETCH ..........................................................................................187 6 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy GENERIC TRANSGRESSIONS: GENDER, GENRE, AND HYBRIDITY IN AMERICAN SCIENCE FICTION TELEVISION By Lacy Hodges August 2012 Chair: Andrew Gordon Major: English “Generic Transgressions: Gender, Genre, and Hybridity in American Science Fiction Television” focuses on the influence of genre hybridity on the portrayal of gender in contemporary science fiction (SF) television series. This project explores the connections between genre, postmodernism, and gender in the current television climate, focusing on the use of what are traditionally “masculine” genres (westerns, war films, cop shows, and action shows) to realign gender roles in SF/speculative shows. Whereas many SF series through the 1980s relegated women to the margins of their stories—allowing female characters to exist only in positions that confirmed patriarchal dominance—SF television in the last twenty years has grown progressively more open to the critique of patriarchal systems, imagining futures comprised of non-normative portrayals of gender and sexuality. Though there is still a tendency towards creating shows built around current patriarchal systems, SF genre-hybrids series such as Battlestar Galactica (2003-2009), Firefly (2002-2003), The X-Files (1993-2002), and Terminator: The Sarah Connor Chronicles (2008-2009) do offer transgressive possibilities for looking at gender and 7 sexuality on television. This project addresses three major aspects of each of these series: their evolution from previous SF and genre television series, their respective genre hybridity (both in terms of genre and storytelling form), and the ramifications of this genre hybridity for sexuality and gender. The first part of the dissertation situates these series within the existing literature and critique of SF and sexuality, and the bulk of the project addresses the series as “hybrid” texts and discusses the influence of hybridity on portrayals of sexuality and gender. By examining these four series, I argue that hybridizing SF with what have long been considered “masculine” genres works to create spaces for transgressive depictions of female characters on mainstream television. 8 CHAPTER 1 INTRODUCTION Science Fiction, Postmodernism, and Feminism In many ways, science fiction (SF) is the genre most suited to postmodernism since both SF and postmodernism deal with issues such as technology, the body, reality, and the question of identity and fractured identities. SF can also be paired closely with feminism; SF is the genre of the utopia a form many feminist writers turn to in order to imagine worlds where women have power; Carl Freedman argues that “science-fictional narration may well be capable of demystifying the structures of gender oppression with unique force and clarity” (134). However, despite this connection, the rather uneasy relationship between feminism and postmodernism creates a number of contradictions within feminist SF texts.1 Because feminism is often thought to assume essentialism in women, and postmodernism denies any kind of essentialism, postmodernism in feminist SF is often confined to the aesthetic issues and not necessarily to the philosophical ones. However, anti-essentialist theorists such as Donna Haraway and Judith Butler point to ways that we can look at feminist theory in non-totalizing ways, which usually involve disrupting the binaries and dualisms that make up the gender/sex dynamic of the patriarchal system. Using the theoretical postmodern/feminism work of Butler and Haraway in conjunction with the theories of gender and viewer identification of Carol Clover and Yvonne Tasker, this project examines particular American SF television series that work to deconstruct the binary system of gender/sex. 1 Marleen S. Barr goes so far as to say that “SF is divided into separate men’s and women’s worlds” (4). It is this idea of inherent separation that problematizes the relationship between SF, feminism, and postmodernism. 9 Whereas many SF series through the 1980s relegated women to the margins of their stories—allowing women to exist only in positions that confirmed patriarchal dominance—SF television in the last twenty years has grown progressively more open to the critique of patriarchal systems. Though television is in many ways an inherently conservative medium, series such as Battlestar Galactica, Firefly, The X-Files, and Terminator: The Sarah Connor Chronicles rely on genre hybridity to imagine spaces for non-normative portrayals of gender and sexuality. Though these narratives are not without problems—particularly in terms of the anxiety connected with portrayals of masculine females—the hybridization of masculine genres does work to deconstruct gender binaries and notions of essentialism. This hybridity has also allowed SF to emerge from both the critical and popular margins of television. Contemporary SF TV is able to occupy a liminal
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